THE SCHOOL PROGRAM


The English-speaking group of participants is formed for actors and directors with various levels of familiarity with the Demidov School. It will include those theatre students and professionals, who are acquainted with his work only through the master teacher’s books, but also those, who’ve had limited practice training in his technique.

First session (June 27 - July 6)

The first training session, will concentrate on the Demidov etudes – specially-designed exercises that establish an actor in the process of subconscious living onstage. The Demidov etudes foster creative spontaneity and emotional responsivity, and develop actors’ readiness to surrender to the given circumstances. In addition, Demidov etudes cultivate the habit of independent creativity - at home, in rehearsal and performance, or in front of the camera. Practicing the Demidov etudes will also lead the participants toward approaching the organic inception of character.

To participate in this training, you must bring with you several outfits, from formal to casual (street, home and athletic). Participants will be asked to vary their wardrobe, from class to class, in order to achieve a variety of impulses for transformation.
Second session (15 June – 24 July)

The second section is open to beginning students, who will partake in the etude work, as described above. Continuing students will receive individualized attention, based on their level of practical efficiency with the Demidov technique. For continuing students, emphasis will shift to the technique of treating the embryo of the role; overcoming dependency on stereotypical “habitual” character; and cultivating the habit of surrendering to the inimitable “just-born,” archetypal character. Continuing students, including those who partook in the First Demidov Summer School, will be given an opportunity to practice in the methods of "accumulating" the role, including Demidov’s techniques, such as "eye", "center", and "affective imitation of character". In addition to the techniques of treating the embryo of the role, continuing participants will also be introduced to Demidov’s signature practice of “assigning” the text of the role, and to his original rehearsal practices.

Character facilitation work will be based on material from classical drama, including monologues and scenes.
To participate in this work, participants will be asked to:

1) select, ahead of class, a character from a classical play, Russian or Western (Shakespeare, Moliere, Schiller, Ibsen, Ostrovsky, Chekhov, Miller, etc., and memorize a three-minute monologue.
Students in the group will be guided through the process of memorization, based on Demidov’s principles of “assigning” the lines.

2) develop, also ahead of class, a “costume” for the chosen character.
This shouldn’t be an elaborate theatrical/historic costume; instead it should be selected and/or made by you - from your personal wardrobe, from borrowed clothes, or from those found in second-hand stores.
Most importantly, improvised costume should “inform” you of your character by supplying sensations, and stimulating plasticity of movement, appropriate for the historic period, and for the chosen character’s nature.